may 16–31, 2015


  • J. M. Coetzee, Youth
  • J. M. Coetzee, Summertime
  • Abdul Ghani Sheikh, Forsaking Paradise: Stories from Ladakh, trans. Ravina Aggarwal
  • Charles Portis, Masters of Atlantis
  • Leslie Jamison, The Empathy Exams
  • Charles Portis, Gringos
  • J. B. Priestley, An Inspector Calls
  • Collier Nogues, The Ground I Stand On Is Not My Ground: Poems
  • Guillevic, Geometries, trans. Richard Sieburth
  • Claudia Rankine, Don’t Let Me Be Lonely
  • Khamsing Srinawk, The Politician and Other Thai Stories, trans. Domnern Garden
  • Jennifer Kronovet, Case Study: With


  • Salmer fra kjøkkenet (Kitchen Stories), directed by Bent Hamer
  • Borderline, dir. Kenneth Macpherson
  • The Man with the Golden Arm, dir. Otto Preminger
  • Il giardino dei Finzi-Contini (The Garden of the Finzi-Continis), dir. Vittorio de Sica

may 1–15, 2015


  • John Fowles, The Collector
  • Satyajit Ray, Classic Feluda 2
  • John Fowles, The Magus
  • Eugene Lim, The Strangers


  • Sikkim, directed by Satyajit Ray
  • Yves Saint Laurent, dir. Jalil Lespert
  • The Elephant God (জয় বাবা ফেলুনাথ), dir. Satyajit Ray
  • Rabinranath Tagore, dir. Satyajit Ray
  • Cambodge après l’adieu, dir. Iv Charbonneau-Ching & Jérémy Knittel
  • 1971, dir. Johanna Hamilton
  • Key Largo, dir. John Huston
  • Force of Evil, dir. Abraham Polonsky


  • “Bui Thanh Tam: There Is No Box,” Thavibu Gallery
  • “Rattana Khunkaew: Monkey Show,” Number 1 Gallery
  • “Roland Neveu: 40 years later: The Commemoration of the Fall of Phnom Penh,” Alliance Française Bangkok


“Discussion with Hanna—about technology (according to Hanna) as the knack of so arranging the world that we don’t have to experience it. The technologist’s mania for putting the Creation to a use, because he can’t tolerate it as a partner, can’t do anything with it; technology as the knack of eliminating the world as resistance, for example, of diluting it by speed, so that we don’t have to experience. (I don’t know what Hanna means by this.) The technologist’s worldlessness. (I don’t know what Hanna means by this.) Hanna utters no reproaches. Hanna doesn’t find the way I behaved toward Sabeth incomprehensible; in Hanna’s opinion I experience a kind of relationship I was unfamiliar with and therefore misinterpreted, persuading myself I was in love. It was no chance mistake, but a mistake that is part of me (?), like my profession, like the rest of my life. My mistake lay in the fact that we technologists try to live without death. Her own words: ‘You don’t treat life as form, but as a mere sum arrived at by addition, hence you have no relationship to time, because you have no relationship to death.’ Life is form in time. Hanna admits that she can’t explain what she means. Life is not matter and cannot be mastered by technology. My mistake with Sabeth lay in repetition. I behaved as though age did not exist, and hence contrary to nature. We cannot do away with age by continuing to add up, by marrying our children.”

(Max Frisch, Homo Faber, trans. Michael Bullock, pp.178–9.)

april 16–30, 2015


  • Satyajit Ray, Classic Feluda 1, translated by Gopa Majumdar
  • Shaun Tan, The Arrival


  • Os verdes anos, directed by Paulo Rocha
  • Recordações da Casa Amarela, dir. João César Monteiro
  • Sostiene Pereira, dir. Roberto Faenza
  • E agora? Lembra-me, dir. Joaquim Pinto
  • Inherent Vice, dir. Paul Thomas Anderson
  • The Golden Fortress (সোনার কেল্লা), dir. Satyajit Ray
  • Blancanieves, dir. Pablo Berger
  • The Collector, dir. William Wyler